I was taking a nose dive somewhere between eleven and twelve because my sister had died and I was practicing something that siblings do which is follow in their footsteps and die as well.
I don't spend a lot of time thinking of what they'll do musically, I try to imagine being locked into a windowless room with this person for twelve hours at a time. If you can look at that and think it might be fun then maybe you've got the right musician.
I had been playing single note instruments and I wanted to hear a guitar played as a piano.
I think if you are writing an instrumental you are dealing with more of an aesthetic in a sense but a lyric is more of a putting yourself on the line and a much more expensive exercise.
I do have a library of events I can talk about and I always expect to find a different point of view on it so even if I talk about the same event in the same town it's fresh.
I think that open tunings are a trap really because it's really hard not to sound like an open tuning when your using one and that gets old as well as what you learn in one open tuning is going to stay there.
It is not a mystical thing, however, it is obvious and practical and I think that what the performer does is to try to get to that point with every choice you make from the phrasing in a tune to the choice of tunes.
It was almost two years after I left Capital that I put out the first one on Chrysalis and that was really instructive because it was no better in particular than any other record I'd done.
Yeah, the first thing that comes to mind is not to try too hard.
You can't really tell what the audience wants but you can tell what will keep everybodies attention in the same place.
The first music I was exposed to was Stravinsky and I loved it but I don't remember it.
I was two and a half and my folks would put it on the record player and I would run around the house screaming, but I haven't been that hip since.
I would say that if you don't feel like talking to the crowd something is wrong and if you force yourself to talk to them things will happen and to that extent things aren't choreographed.
I'm not subject to their rise and fall because I'm not accepted by them, so I have my own little curve going on. A lot of it is because of how much I play, I think I connect like when all you had was Vaudeville, I think I have an audience by performing a lot!
It was a kind of paralysis you would get from tendonitis and I would last about five to ten minutes into the set and it would set in and I really couldn't play.
For un-subscribe please check the mail footer.